Monday, August 6, 2012
Thursday, August 2, 2012
I often relate my personal validation to the experienced landscape – those I’ve consistently visited, especially those I’ve frequently played in, worked in, and have helped to shape somehow.
I recognize that my important personal experiences are divided by landscapes. These landscapes are bigger than even my own immediate interpretations. When I’m there they have a visceral force on me because of their omnipresence.
When I first entered these natural settings I ask myself, did I really understand them as much as I thought I did? What initially drew me in? Did I stumble upon a place, or did I seek this place out?
I often consider the scope of my initial encounter of a vast natural landscape. Do I only see it? I argue that I often feel it first, then, while using other senses to contemplate further meanings; have subsequent feelings towards it.
To me outdoor spaces have always been like wide-open rooms, beyond our manmade dwellings. That’s why I think of them as more than landscapes. You can say just about any compound word ending in “scape,” such as: mindscape, dreamscape, or soundscape, for example.
Sometimes these spaces are deeper in personal meaning than the indoor rooms of our living quarters. Our homes are designed to protect, shelter, and also offer some of what a landscape does.
But outdoor landscapes are something else. They can change any given second, based on their exposure to natural light, and the elements of weather and temperature. They are seasonally affected, and are affected by their proximity within certain temperate zones or soil growing conditions. They are affected by altitude, or microclimates, especially those near water.
Still there are some landscapes, thankfully enough, that are vast and natural – touched hardly by any person alive, or passed. Witnessing their colors can be the most striking and unforgettable experience. The feeling changes with the seasons.
I strive to create landscapes that have raw elements of natural settings. I saw some of the most amazing colors during an autumn hike in the Colorado Rockies.The quaking Aspens I encountered on this hike remind me of a cluster of perennials I had planted in my mother’s rock garden in Geneva, NY. The scale and scope of each contrast significantly, however, the experience of enjoying these vivid golds and amber hues is quite the same.
This connection to expansive natural elements I try to adapt to my landscape designs. If I know they are effective in nature than I try to scale them into home or commercial designs. Thus, I look to use native species of perennial plants, especially those which consistently showcase their fullest potential every year.
Friday, September 28, 2007
Or, perhaps this is what I'm preoccupied with attempting myself - and I'm using something from Matta-Clark's exercises to define this sentiment from a Virtual Design and Construction stance.
Ever since being a pre-architecture student at School of Visual Arts, in Manhattan, and being exposed to both his and James Wines’ work, I recognized these exercises as a kind of symbology to address both designing, and design criticism. Learning this as a 26 year old sculpture student was a profound experience - via several instructors (some of whom were brought up in architecture families, or received professional architecture degrees of their own.)
While this blog may serve as a somewhat biographical and tangential exercise: as a current Building Information Modeling (BIM) practitioner, I sometimes can’t help but feel a virtual connection to his renown performance, Splitting, from 1974, done in Englewood, NJ (especially when "splitting" a 3D model from within a BIM program.)
In case you’ve never heard of this artist (non-architect; or anarchitect,) Matta-Clark (1943-1978) was a ground breaking “de-constructivist” who executed intricate carvings out of readymade architecture (buildings) that were (most often) soon to be demolished. His best known works were created, internationally, over a period of 10 years - between 1968 and 1977.
How ironic that, today, with all of our latest computer architecture technology, BIM somehow fits into the concept of de-constructivist theory and contextualization.
Because the very solution that all “modeled information”, with BIM technology, may now be that which is virtually carved, sliced, chopped, dissected, examined; and as tangibly as Gordon Matta-Clark might have chosen to do so (from within real situations): takes his method into the cyber-realm. Or, at least, this is how I feel.
Could these exercises have also come from his practical sense of addressing traditional drafting techniques and practice while breaking down "real space"? Was he making renovations of "the virtual" while being inside the reality of his own design, carving; sculpting within the core? Was he thinking similarly, then, to how progressive CAD programs allow users to operate now? In terms of virtual decon - I would argue yes to both.
This is why I feel he was performing autonomous "computerized" methods as an extension of his cuttings. Some may say this is speculative and not well grounded, or well suited for "art" theory. Whatever the case, there are still arguments to be made, comparatively (with technology), beyond the archetypes of his accomplishments and imagination.
I feel BIM contemplates design and construction somewhere between the technology of CAD and his mind's eye. BIM is Post-CAD.
It’s almost as though this renegade artist had foreshadowed the future of digital architectural design (process) from within an inert virtual architectural psyche: dealing with the deep contemplations of architectural vicissitudes, way before modern reception. Usually he's been considered as doing this within the socioeconomic context of blighted neighborhoods, while exercising more artistic or poetic commentary. Yet, had he still been alive today, these works may have also had vast implications for digital-socio-ecological reasoning, architectural forensics, sustainability, forecasting for adaptive reuse projects, etc.
This possibly proves that (as was sometimes suspected) he might have been a visionary to modern computer architecture – as well as being a prolific artist working in the medium of architecture; on the fringes of an inept society.
Several bloggers have been writing effusively on the subject of Building Information Modeling. But while not all architectural circles agree that BIM technology is a viable resource, [enough that it should even be widely accepted (as often Matta-Clark's renegade behavior was not)] the indications that BIM is, in fact, gaining ground (as phenomenological methodology), fastidiously overrides conservative ferment that it is "shear nonsense". The splitting taking the foreground [place] shall not be the same Splitting that’s archaic to the fact-of-the-matter divisiveness. Cultural splits are never what they automatically appear as, and that can make huge imprints on our minds because they haunt us with unearthed truths about autonomous technological advancement.
It should come as no surprise that preeminent architect, Frank O. Gehry, who has been on the forefront of BIM technology, is also widely influenced by Matta-Clark.
Like those recognized, who’ve staked their own place within a design theory, the fragments of these findings are usually only initially visible to a select few: my advisors at SVA, for instance. But, as in art and design, as well as in controversial technologies, simple forms can delight and surprise and reflect the very nature of why we perform in such ways. Recently I visited the Gordon Matta-Clark: You are the Measure retrospective at the Whitney Museum, last spring. I was delighted that the New York Times chose to state at the top of their March 3, 2007 article; that it "should be required viewing for any architect born in the age of the computer screen." This confirmed exactly what I walked away feeling, after attending the exhibit (twice).
Splitting progressive CAD is an extensively tough-love (labor-of-love) task. However, there are parallels that, while seemingly are far-off, ostensibly, make perfect sense when looking beyond archaic CAD pragmatism. BIM is what's most progressive now and is splitting into more diverse movements and systems, interoperably , especially under the microscope of its own palpability: as it stands now.
Perhaps exemplary pieces of art, as Matta-Clark's Splitting, offer reflective qualities in ways only a select few in progressive digital architecture may appreciate. To those modeling with BIM, who exist in the here and now, it’s great to have digital 3D parametric houses compiled and recognized as offerings to their own prodigal examinations. For others, it's still just a house divided.